Justia Copyright Opinion Summaries

A technology company developed and copyrighted a facial motion capture software system used in film production. The company’s assets, including the software, were transferred among several affiliated entities, leading to a disputed sale to a visual effects contractor. The contractor, after acquiring the assets under contested circumstances, used the software in the production of a major motion picture for a film studio. The studio’s contract with the contractor gave it broad rights to supervise the contractor’s work, including the right to terminate the contract for copyright infringement. During production, representatives of the studio were present at all relevant sessions where the software was used, and evidence was presented that copyright notices appeared during these sessions.After the film’s release, the technology company sued the studio in the United States District Court for the Northern District of California, alleging vicarious and contributory copyright infringement. The district court granted summary judgment to the studio on the contributory infringement claim, finding insufficient evidence of the studio’s knowledge of infringement, but allowed the vicarious liability claim to proceed to trial. At trial, the jury found the studio vicariously liable, awarded actual damages, and returned an advisory verdict on profits. The district court later granted judgment as a matter of law for the studio, concluding there was insufficient evidence that the studio had the practical ability to supervise or control the contractor’s infringing conduct. The court also struck the plaintiff’s jury demand on the issue of disgorgement of profits, holding there was no statutory right to a jury trial for that remedy, and excluded certain expert testimony and evidence of an indemnification agreement.On appeal, the United States Court of Appeals for the Ninth Circuit reversed the district court’s grant of judgment as a matter of law, holding that there was sufficient evidence for a jury to find the studio had the practical ability to supervise or control the contractor’s infringing conduct. The Ninth Circuit affirmed the district court’s rulings striking the jury demand on disgorgement of profits, excluding the damages expert’s testimony, and excluding the indemnification agreement. The case was remanded for further proceedings consistent with these holdings. View "REARDEN, LLC V. WALT DISNEY PICTURES" on Justia Law

Anna Biani participated in an online role-playing forum themed around Victorian London, where she created three original characters: Charlotte Émilie Benoit, Frederick FitzClarence, and Landon Otis Lloyd. She registered copyrights for these characters and her forum posts. Biani alleged that the television series Penny Dreadful, which aired on Showtime, infringed her copyrights by incorporating aspects of her characters into the show’s characters, particularly Vanessa Malcolm and Sir Malcolm Murray. She pointed to similarities in character traits, backgrounds, and the casting of Eva Green, whom she had identified as resembling one of her characters.The United States District Court for the Central District of California reviewed Biani’s complaint. The court dismissed the case for failure to state a claim, finding that Biani had not plausibly alleged that the defendants had access to her work or that the similarities between the characters were so striking as to preclude independent creation. The district court applied the extrinsic test for substantial similarity, filtering out unprotectable elements such as stock features of the Victorian-era genre, and concluded that any remaining similarities were insufficient. Biani was given leave to amend but chose not to do so, resulting in dismissal with prejudice.On appeal, the United States Court of Appeals for the Ninth Circuit affirmed the district court’s dismissal. The Ninth Circuit held that, to state a claim for copyright infringement, a plaintiff must plausibly allege ownership of a valid copyright and that the defendant copied protected aspects of the work. The court found that Biani failed to plausibly allege copying, as the similarities were not so extensive as to preclude coincidence or independent creation. Additionally, the court agreed that Biani did not allege substantial similarity in protectable expression under the extrinsic test. The judgment of the district court was affirmed. View "BIANI V. SHOWTIME NETWORKS, INC." on Justia Law

A musician and songwriter alleged that another composer copied his liturgical song, “Emmanuel,” in creating her own work, “Christ Be Our Light.” The plaintiff had published and performed “Emmanuel” widely in the 1980s and early 1990s, including at conventions attended by both the defendant and her publisher. The defendant, a British musician, composed “Christ Be Our Light” in 1993, and her publisher had received copies of “Emmanuel” from the plaintiff in the mid-1980s. The plaintiff claimed that the defendant had access to his work through these conventions, widespread dissemination, and her relationship with her publisher.The plaintiff initially filed suit in the Northern District of Indiana, but after a procedural dismissal and re-filing, the case was transferred to the United States District Court for the District of Oregon. During discovery, the plaintiff disclosed, after the deadline, letters from the publisher acknowledging receipt of “Emmanuel.” The district court, adopting a magistrate judge’s recommendation, excluded these letters and the related access theory as a sanction for late disclosure, finding the failure to disclose was neither substantially justified nor harmless. The court then granted summary judgment to the defendants, concluding that, without the excluded evidence, the plaintiff could not show access or striking similarity, and thus could not proceed with his copyright claim.On appeal, the United States Court of Appeals for the Ninth Circuit affirmed the exclusion of the late-disclosed evidence and the related access theory, holding that the discovery sanction was not claim-dispositive and was within the district court’s discretion. However, the Ninth Circuit reversed the grant of summary judgment, holding that, even without the excluded evidence, there were triable issues of fact as to whether the defendant had access to “Emmanuel” and whether the two works were substantially or strikingly similar. The case was remanded for further proceedings. View "AMBROSETTI V. OREGON CATHOLIC PRESS" on Justia Law

Several former members of the rock band Supertramp entered into a 1977 publishing agreement with their bandmates and manager, allocating specific percentages of songwriting royalties among themselves. These royalties were distributed according to the agreement for decades. In 2018, two of the principal songwriters and their publishing company stopped paying royalties to the plaintiffs, prompting the plaintiffs to file a breach of contract action. The dispute centered on whether the agreement could be unilaterally terminated or whether the obligation to pay royalties continued as long as the songs generated income.After the case was removed to the United States District Court for the Central District of California, the court ruled as a matter of law that the defendants could terminate the agreement after a “reasonable time,” finding no express or implied duration in the contract. The case proceeded to a jury trial, which found in favor of the defendants, concluding that the contract had been terminated after a reasonable time. The plaintiffs appealed this decision.The United States Court of Appeals for the Ninth Circuit reviewed the case and applied California contract law, which requires courts to first look for an express duration in the contract, then to determine if a duration can be implied from the contract’s nature and circumstances, and only if neither is found, to construe the duration as a reasonable time. The Ninth Circuit agreed there was no express duration but held that the contract’s nature implied a duration: the obligation to pay royalties continues as long as the songs generate publishing income, ending only when the copyrights expire and the works enter the public domain. The court reversed the district court’s judgment and remanded with instructions to enter judgment for the plaintiffs on liability. View "Thompson v. Hodgson" on Justia Law

Capstone Studios Corp., a copyright holder, sought to identify 29 subscribers of CoxCom LLC, an Internet service provider, whose IP addresses were allegedly used to share pirated copies of Capstone’s movie via the BitTorrent peer-to-peer protocol. Capstone petitioned the clerk of the United States District Court for the District of Hawaii to issue a subpoena under § 512(h) of the Digital Millennium Copyright Act (DMCA) to compel Cox to disclose the subscribers’ identities. Cox notified its subscribers, and one, identified as “John Doe,” objected, claiming he had not downloaded the movie and that his Wi-Fi had been unsecured.A magistrate judge treated John Doe’s letter as a motion to quash the subpoena. The magistrate judge found that Cox’s involvement was limited to providing Internet access, qualifying it for the safe harbor under 17 U.S.C. § 512(a), which covers service providers acting solely as conduits for data transmission. The magistrate judge concluded that, as a matter of law, a § 512(h) subpoena cannot issue to a § 512(a) service provider. The district court adopted these findings and quashed the subpoena. Capstone’s motion for reconsideration was denied, and Capstone appealed.The United States Court of Appeals for the Ninth Circuit reviewed the case. It held that the DMCA does not permit a § 512(h) subpoena to issue to a service provider whose role is limited to that described in § 512(a), because such providers cannot remove or disable access to infringing content and thus cannot receive a valid notification under § 512(c)(3)(A), which is a prerequisite for a § 512(h) subpoena. The court also found no clear error in the district court’s factual finding that Cox acted only as a § 512(a) service provider. The Ninth Circuit affirmed the district court’s order quashing the subpoena. View "In re Subpoena Internet Subscribers of Cox Communications, LLC" on Justia Law

Yuga Labs, Inc. created the Bored Ape Yacht Club (BAYC) NFT collection, which became highly popular and valuable. Defendants Ryder Ripps and Jeremy Cahen created a nearly identical NFT collection called Ryder Ripps Bored Ape Yacht Club (RR/BAYC), using the same images and identifiers as Yuga's BAYC NFTs. Yuga sued for trademark infringement and cybersquatting, while Defendants countersued under the Digital Millennium Copyright Act (DMCA) and sought declaratory relief that Yuga had no copyright protection over the Bored Apes.The United States District Court for the Central District of California dismissed Defendants' declaratory-judgment counterclaims for lack of subject-matter jurisdiction and granted summary judgment for Yuga on its trademark infringement and cybersquatting claims, as well as on Defendants' DMCA counterclaim. The court then held a bench trial on remedies, enjoining Defendants from using the BAYC marks and awarding Yuga over $8 million in disgorgement of profits, statutory damages, attorney fees, and costs.The United States Court of Appeals for the Ninth Circuit reviewed the case. The court held that NFTs can be trademarked under the Lanham Act as they are considered "goods." However, the court reversed the district court's grant of summary judgment for Yuga on its trademark infringement and cybersquatting claims, concluding that Yuga did not prove as a matter of law that Defendants' actions were likely to cause consumer confusion. The court found that Defendants' use of Yuga's marks did not constitute nominative fair use and was not protected by the First Amendment. The court affirmed the district court's rejection of Defendants' DMCA counterclaim and the dismissal of their declaratory-judgment claims with prejudice. The case was remanded for further proceedings. View "Yuga Labs, Inc. v. Ripps" on Justia Law

CoStar Group, Inc. and CoStar Realty Information, Inc. (collectively, “CoStar”) and Commercial Real Estate Exchange, Inc. (“CREXi”) are online platforms competing in the commercial real estate listing, information, and auction markets. CoStar sued CREXi for copyright infringement, alleging that CREXi listed images and information hosted by CoStar without permission. CREXi counterclaimed on antitrust grounds, asserting that CoStar engaged in monopolistic practices to exclude competition.The United States District Court for the Central District of California dismissed CREXi’s antitrust counterclaims and directed entry of final judgment on those claims under Fed. R. Civ. P. 54(b). The district court held that CREXi failed to show CoStar had monopoly power and that the agreements at issue were not exclusive. CREXi appealed the dismissal of its antitrust counterclaims.The United States Court of Appeals for the Ninth Circuit reviewed the case and reversed the district court’s dismissal of the antitrust counterclaims. The Ninth Circuit held that CREXi successfully stated claims under §§ 1 and 2 of the Sherman Act, California’s Cartwright Act, and the Unfair Competition Law. The court found that CREXi plausibly alleged CoStar had monopoly power in the relevant markets and engaged in anticompetitive conduct by entering into de facto exclusive deals with brokers and imposing technological barriers to entry. The court concluded that a monopolist using its power to exclude competitors and maintain monopoly power violates § 2 of the Sherman Act, and using exclusive deals to do so violates § 1 of the Sherman Act and the Cartwright Act. The court also held that CREXi stated claims under the “unfair” and “unlawful” prongs of the Unfair Competition Law. The Ninth Circuit affirmed the district court’s dismissal of CREXi’s tortious interference claims as they were improperly raised. The case was remanded for further proceedings. View "COSTAR GROUP, INC. V. COMMERCIAL REAL ESTATE EXCHANGE, INC." on Justia Law

Carroll Shelby Licensing, Inc. and Carroll Hall Shelby Trust filed a lawsuit against Denice Halicki and her associated entities, alleging that Halicki's copyright claims over the "Eleanor" Ford Mustangs were invalid. Halicki counterclaimed, asserting that Shelby's "GT-500CR" Mustangs infringed her copyright in Eleanor, a collection of Mustangs featured in four films. The dispute also involved claims of breach of a prior settlement agreement between the parties.The United States District Court for the Central District of California held that Eleanor was not entitled to character copyright protection and dismissed Halicki’s breach of contract claim based on the settlement agreement. The court also denied Shelby’s request for a declaration that the GT-500CR did not infringe any of Halicki’s rights.The United States Court of Appeals for the Ninth Circuit reviewed the case and affirmed the district court’s summary judgment that Eleanor was not entitled to character copyright protection. The Ninth Circuit applied the Towle test and concluded that Eleanor did not have conceptual qualities, consistent traits, or distinctive elements necessary for character copyright protection. The court also affirmed the district court’s judgment that Shelby did not violate the settlement agreement, which prohibited Shelby from copying only Eleanor’s distinctive hood and inset lights.However, the Ninth Circuit reversed the district court’s denial of declaratory relief and remanded the case for the purpose of issuing the appropriate declaration. The appellate court held that a declaration would clarify and settle the legal relations between Shelby and Halicki and provide Shelby relief from the uncertainty that led to the proceedings. View "CARROLL SHELBY LICENSING, INC. V. HALICKI" on Justia Law

Rodney Woodland, a freelance artist and model, sued Montero Lamar Hill, also known as Lil Nas X, for copyright infringement. Woodland claimed that Hill posted photos on his Instagram page that were too similar to photos Woodland had posted on his own Instagram account. Woodland's photos, posted between August 2018 and July 2021, received between eight and seventy-five "likes." Hill's allegedly infringing photos were posted between March and October 2021 and received hundreds of thousands to millions of "likes."The United States District Court for the Central District of California dismissed Woodland's claims, including copyright infringement, declaratory relief, accounting, and unjust enrichment. The court found that Woodland failed to allege facts showing a reasonable possibility that Hill viewed Woodland's photos on Instagram and that Hill's photos were not substantially similar to Woodland's. Woodland was granted leave to amend his complaint but ultimately failed to state a claim for copyright infringement.The United States Court of Appeals for the Ninth Circuit reviewed the case and affirmed the district court's dismissal. The Ninth Circuit held that Woodland did not plausibly allege that Hill had "access" to Woodland's photos, as the mere fact that Woodland posted his photos on Instagram was insufficient to show that Hill had viewed them. Additionally, the court found that Woodland failed to show that Hill unlawfully appropriated his photos. The court explained that the Copyright Act protects only the "selection" and "arrangement" of individual elements in a photo, and the photos in question were not substantially similar in their selection and arrangement of elements. Thus, Woodland's copyright infringement claim was dismissed. View "Woodland v. Hill" on Justia Law

Aquarian Foundation, Inc., a non-profit religious organization, alleged that Bruce Lowndes infringed on its copyrights by uploading spiritual teachings of its late founder, Keith Milton Rhinehart, to various websites. Lowndes claimed he had a license from Rhinehart, granted in 1985, to use the materials. Rhinehart passed away in 1999, bequeathing his estate, including the copyrights, to Aquarian.The United States District Court for the Western District of Washington granted partial summary judgment, confirming that Rhinehart's copyrights were properly transferred to Aquarian via his will. After a bench trial, the court ruled against Aquarian on its claims of copyright infringement, trademark infringement, and false designation of origin. The court found that Rhinehart created the works as his own, not as works for hire, and that he had validly licensed them to Lowndes. The court also determined that Lowndes did not breach the licensing agreement and that Aquarian could not terminate the license under 17 U.S.C. § 203(a). The court denied attorneys’ fees to both parties.The United States Court of Appeals for the Ninth Circuit affirmed the district court’s findings that Rhinehart’s works were not created as works for hire, that he validly licensed the works to Lowndes, and that Lowndes did not breach the licensing agreement. The court also affirmed the decision not to award Lowndes attorneys’ fees under the Lanham Act. However, the Ninth Circuit reversed the district court’s determination regarding the termination of the license, holding that Aquarian’s termination letter in May 2021 was effective. The case was remanded for further proceedings to address any infringement that may have occurred after the license termination, as well as the denial of injunctive relief and attorneys’ fees under the Copyright Act. View "AQUARIAN FOUNDATION, INC. V. LOWNDES" on Justia Law